Praise from Musicians“Playing of fantastic style and flair, with an extraordinary virtuosity that always serves the character of the music. A violinist you must hear!” –Peter Oundjian
New Artist of the Month: December 2009
Caroline Goulding started young: She took up the violin at three-and-a-half, made her debut with the Cleveland Orchestra at 13 (playing the first movement of Lalo’s Symphonie Espagnole), and was all of 17 when her solo CD was nominated for a Grammy and she was named an MA New Artist of the Month.
Since then, the violinist, who turns 26 in August, has continued to have a high- profile career, performing extensively as a soloist with orchestras in North America, Europe, and Asia. She’s been a media darling, with appearances on NBC’s Today, NPR’s From the Top: Live From Carnegie Hall, and The Martha Stewart Show. Her third album, of the Korngold Violin Concerto and Mozart’s A- Major Concerto, with the Bern Symphony Orchestra under Kevin John Edusei, was released this year by Claves Records.
The violinist recently took a sabbatical from concertizing to focus on meditative
practices and the merging of meditation and music. In one of her first return concerts, in March, she was the soloist in Bruch’s Scottish Fantasy with the Long Beach Symphony, Eackert
Preu conducting. In an onstage interview described in an LA Opus review by David Brown, Goulding told Preu that “she had been at the point in her career where she felt the need to withdraw for several months of meditation and self-discovery at a retreat in rural Montana…. If this performance was any indication,” continued Brown, “the timeout paid off big-time. Her playing was simply spellbinding.”
Goulding’s 2018 calendar has included plenty of standard repertoire, but there are also engagements that reflect her spiritual journey, such as a performance at the Festival of Faiths in Louisville in April. Last summer, she curated a program called “Universe as Poet: Transfiguration through Cycles, Sages, and the Collective Unconscious” at the Tippet Rise Art Center in Fishtail, MT. In performances with cellist Joshua Roman and pianist David Fung, she played pieces by Schoenberg, Enescu, Ravel, Bartók, Janácek, and Schumann. She returns to Tippet Rise for two concerts in July.
For the Record, Op. 58: Ray Chen’s ‘Golden Age,’ Caroline Goulding’s Korngold & Mozart; Thomas Bowes’ Bach
June 8, 2018, 11:54 AM · Welcome to “For the Record,” Violinist.com’s weekly roundup of new releases of recordings by violinists, violists, cellists and other classical musicians. We hope it helps you keep track of your favorite artists, as well as find some new ones to add to your listening!
“Re-emerging from a seven-month pause from concertizing to focus her attention on meditative practices and the merging of meditation and music, Caroline is reopening the 2018 season with the release of her third album on Claves Records.” Caroline has studied with Christian Tetzlaff, Donald Weilerstein, Paul Kantor, Joel Smirnoff and Julia Kurtyka. A past member of the Stradivari Society, Caroline currently plays a Giovanni Battista Rogeri (1675), courtesy of Peter and Cathy Halstead. BELOW: Caroline Goulding plays the first movement of Erich Wolfgang Korngold’s Violin Concerto in D Major…”
Laurie Niles, editor
Video Footage Courtesy of Kathy Kasic
Live Footage from the 23rd Annual Festival of Faiths in Louisville, KY on April 25, 2018 at 7:30PM EST.
Tune in to Performance Today hosted by Fred Child to listen to a LIVE performance from Tippet Rise of the final movmement of Schumann’s Sonata for Violin and Piano in D minor, Op. 121 with the brilliant David Fung filmed below, as well as a favorite: Schoenfield’s Tin Pan Alley from ‘Four Souvenirs’ with the amazing Christopher O’Riley. Cheers and Happy Easter to those who celebrate!
Caroline Goudling Review
by Nolan Conghaile.
MARCH 20, 2018
The virtuoso violinist Caroline Goudling has performed with the world’s premier orchestras, in recital and on record and has blossomed from a precociously gifted 13-year-old soloist with the Cleveland Orchestra to a mature virtuoso of skill and lyricism that is simply amazing. In 2009, when the violist was just 16, her debut release on Telarc was GRAMMY-nominated and chart-topping. Caroline’s recital album with pianist Danae Dörken on the ARS label includes works by Schumann, Enescu, and Dvorák.
Since that 2006 Cleveland Orchestra debut, Caroline has gone on to appear as soloist with the symphony orchestras of Toronto, Detroit, Dallas, Houston, Nashville, Milwaukee, Pasadena, Alabama, Florida, the National Symphony, and the Orchestra of St. Luke’s. She has also appeared extensively in Europe and Asia with the Frankfurt Radio Symphony, Netherlands Philharmonic, Deutsche Radio Philharmonie, and the Hong Kong Philharmonic. She has appeared in recital at Carnegie Hall, Lincoln Center, the Kennedy Center, Beijing’s Forbidden City Concert Hall, the Tonhalle-Zurich, the Louvre Museum, the Isabella Stewart Gardner Museum, and she has performed as a chamber musician as part of the Marlboro Music Festival. Caroline was a recipient of the Avery Fisher Career Grant in 2011, and she won the Young Concert Artists International Auditions and was the recipient of the Helen Armstrong Violin Fellowship in 2009. She has also garnered significant attention from music and mainstream press appearing on NBC’s Today, MARTHA and Germany’s Stars von Morgen hosted by Rolando Villazón. Caroline has also been heard on NPR’s Performance Today, From the Top, and SiriusXM Satellite Radio.
Goudling is the recipient of the THIERRY SCHERZ PRIZE. Sponsored by the Pro Scientia et Arte Foundation and the Friends of the Sommets Musicaux de Gstaad. One of the main goals of the Sommets Musicaux de Gstaad has always been to give young talents a chance, to help and guide them from the very start, the festival included into its program a series of concerts given in the Gstaad chapel by promising young musicians of different nationalities playing the same instrument. Every year, this Prize aims to reward one of these young musicians with the opportunity of recording a CD with an orchestra, produced by Claves Records, ensuring a wide distribution. This Prize gives the laureate experience with microphones, collaboration with a conductor, with orchestra musicians, an artistic director, sound engineers… and finally the joy of an extensive distribution. KORNGOLD & MOZART, VIOLIN CONCERTOS is the result and what a project for this violinist to demonstrate her command of the repertoire and her instrument.
Our favorite track is “III. Finale. Allegro assai vivace” by Korngold The Berner Symphonieorchester under the direction of Kevin John Edusel. The balance and support of Goudling is brilliant. Gouding’s performance offers lively, colorful, accurate performances and is full of heart and passion. Her tone is aggressive, but warm, cathartic, but not overplayed. The flow is nice and the breaths all make for musical flow. Wonderful performance.
It’s remarkable how Korngold uses timbre to keep the busy textures clear. Goudling brings lyricism to the music as well as passion. The program of Korngold and Motzart are an excellent pairing and this is a delightful presentation, both in sound and performance.
FEATURESMain Composer Erich Wolfgang Korngold
Orchestra: Berner Symphonieorchester
CD set: 1
Catalog N°: CD 1808
ALBUMKORNGOLD & MOZART, VIOLIN CONCERTOS – CAROLINE GOULDING, VIOLIN
RELEASE DATEJune 8, 2018
Long Beach Symphony at the Terrace Theater, Long Beach Performing Arts Center
DAVID J BROWN, LA Opus, Southern California’s Classical Voice for Music and Live Arts
In between came passages of hushed, withdrawn stasis, elsewhere an almost vocal confiding quality, in places a wayward sense of fantasy, and at times, as in the second movement Scherzo, a skipping, improvisatory quality that extended even to a bit of nifty footwork, Ms. Goulding’s slight lavender-dressed figure twisting and sliding to and fro as she interacted with individual orchestra members, strikingly contrasted with Maestro Preu’s tall presence rooted to the podium. The only regret one could have about the whole extraordinary performance was after it ended when (unless I missed it), there was scant acknowledgment of the sterling work of the harpist, Marcia Dickstein: not for nothing does the full title of Bruch’s work spell out that it is “for violin with orchestra and harp”. […]”‘
“[…] The guest soloist, violinist Caroline Goulding, bought right into Preu’s approach in the Bruch Scottish Fantasy, playing with a freedom and abandon that breathed new life into the old warhorse. She walked around like a strolling musician, turned her back on the audience and played to the orchestra half the time, and used her gorgeous violin tone and scintillating technique to captivate her audience. Preu, as usual, provided solid, sympathetic accompaniment. […]”
–Jim Ruggirello, Music Critic, The Grunion: Long Beach’s Community News Source
” […] ‘For the second half of the program, Preu turned his attention to more familiar fare. In Brahms’ Concerto in A minor for Violin, Cello and Orchestra (Op. 102), his soloists were Joshua Roman, who gave a fine account of Mason Bates’ Cello Concerto here in 2016, and violinist Caroline Goulding, in her first Portland Symphony appearance. Both played magnificently, and they took care to match each other’s phrasing so that the solo lines often had the tautness of a chamber music performance within the work’s grander textures.
A touch of that chamber music quality found its way into the orchestral playing as well, particularly in the central Andante, and even if you prefer a more titanic approach to Brahms, it was an interesting reading, with an enlivening touch of folkish brightness in the finale.’ […]”
–Allan Kozin, (Portland Press Herald)